Stuart Chan

Esports is entering a completely new era - that requires action and focus. Here's the big needs I see the coming year: Many entities have been around for a long time, some are newer, and while legacy definitely matters, it's clear to see that the majority of actors in esports have to further solidify, reposition or completely pivot, adjusting to the future trajectory of esports, leading to a fantastic time of opportunity for all. The chessboard in this industry is always moving, and while it's tempting to say more than ever, I think these growth phase changes are always part of esports. Three things I see a clear need for: 1️⃣ Core value proposition definition Without a clear path to profitability and a strong understanding of how to get there, it's very hard to make a long lasting business. The aftermath of the earlier VC funding trends and having been too reliant on large, somewhat easy-accessible funding rounds, have resulted in too little focus on this versus aggressive market share growth. In a market not designed to have a few big market winners but rather a large degree of co-existing within very similar businesses, it's vital to properly define your unique characteristics and exactly how you are going to find your continued growth. 2️⃣ Operational re-modeling Making sure the right people are on board the journey, has been and always will be the most important part of any company strategy. A big part of this is more than just recruiting them, it's also making sure the right people are sitting in the right seats, which starts from the top. Aligning your overall strategy with the operational set up means reviewing whether or not your different departments are set up for success and angled correctly towards the initiatives that is required to get the desired growth numbers. The setup that worked from A to B might not work from B to C - reviewing that now is a great idea. 3️⃣ Investment willingness Without investment of time, resources and money into new growth initiatives, change is incredibly hard to execute. Being willing and able to properly invest, provides the opportunity for new momentum and allows your people, and in turn the company, to react and build towards the new wave of changes happening around the industry. No matter if it's small or large investment you activate, the willingness and courage to do it is what's going to matter the most, regardless of the scope of your potential initiatives. Dare to shake the status quo, and you'll definitely find success and new clarity. It's an incredibly exciting time for esports with International Olympic Committee – IOC and Esports World Cup Foundation leading a big charge into different territories, leading to further attention to all the formidable things esports already do all year around across all games, teams, tournament organizers, brand partnerships and much more. Let's get to it - no time to waste! #esports #gaming #entrepreneurship #strategy #leadership

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"Atlus is one of our most successful acquisition deals to date," says Sega Sammy as Metaphor: ReFantazio posts strong sales. Sega Sammy Holdings highlighted the success of Metaphor: ReFantazio and Sonic X Shadow Generations during a Q2 FY2025 earnings Q&A. Atlus, developer of Metaphor: ReFantazio and the Persona series, was praised as one of Sega’s “most successful M&A deals to date.” Acquired in 2013 for about ~$140m, Atlus has benefited from Sega’s global publishing reach, enabling broader multi-platform launches. “By joining forces with Sega, they have gained the capability to expand their targets,” said Sega Sammy, crediting the partnership and Metaphor’s high quality for its strong debut. Sega picking up Atlus has been pretty good for me. Just getting their games on more platforms has been a huge boon. With so many RPGs becoming less RPG and more action, Atlus is one of the only studios consistently putting out great classic-styled JRPGs with good production values. Atlus was also a great acquisition for Sega from a consumer perspective because it meant Sega could work with Atlus to expand to the ever-growing PC market. Sega made some really great decisions, particulary with Metaphor, and I'm glad to see those decisions paying off. - Going multiplatform from the start - Putting out a great demo that let you experience almost an entire in game cycle without time constraints All of that made possible because they trusted that the game was really strong. I hope this leads to more demos like this. Certainly up there for game of the year, and with Infinite Wealth, glad to see Sega supporting their top studios to do their thing.

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📊 Games & Numbers (04.09.24 - 17.09.24) 🎮 PC/console games ◾️Sales of Black Myth: Wukong surpassed 18 million copies in just two weeks. This was reported by Daniel Wu, one of the founders of Hero Games, the largest shareholder of the game's developers. According to him, the game's development cost $70 million and took 6 years. ◾️Street Fighter 6 sales reached 4 million copies across all platforms. The total sales of the series as of the end of the first half of 2024 stand at 55 million. ◾️Sales of Warhammer 40,000: Space Marine 2 are approaching 3 million copies, earning more than all other Warhammer universe games combined in 2023. ◾️Harrison Froschke, Senior Product Manager at Blizzard Entertainment, revealed on his LinkedIn the revenue of Diablo IV. The game has surpassed $1 billion in earnings, with $150 million coming from microtransactions. Blizzard had officially reported that the game earned $666 million in its first 5 days of sales. ◾️More than 1 million people have played Citizen Sleeper. The studio and publisher (Fellow Traveller) proudly shared this on their social media. ◾️Released on August 15, shapez 2 has already sold 260,000 copies. In the first week, the game was purchased 70,500 times. It launched with 330,000 wishlist entries. ◾️Earth Defence Force 6, released in September 2022, has sold 550,000 copies in two years. 📱Mobile games ◾️According to Appfigures, the gross revenue of Royal Match has reached $3 billion. The previous billion was achieved in January this year, and the game has surpassed 300 million downloads. ◾️Sensor Tower reports that The Last War: Survival has earned over $900 million since its release. 30.4% of that amount came from the US, 22.9% from South Korea, and 12.4% from Japan. The RPD (revenue per download) in South Korea is $53, the highest among all countries. Additionally, The Last War: Survival accounts for 30% of the revenue from strategy games in South Korea. ◾️In its first year, Monster Hunter Now has earned over $225 million, according to data from AppMagic. ◾️Trivia Crack by Etermax has been downloaded more than 800 million times. It took 11 years to reach this milestone. ◾️Using AppMagic, mobilegamer.biz found that games from Netflix Games have been downloaded more than 210 million times. The leader is GTA: San Andreas with 25.2 million downloads. ◾️Infinity Nikki by Infold Games has surpassed 14 million pre-registrations. The game, in addition to mobile platforms, will also be released on PlayStation 5 and PC. All the links to the sources are here: https://lnkd.in/dnGv8H-c

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Atari Space Invaders Championships, 1980. It was the first large-scale video game competition, bringing competitive gaming into the mainstream. The event was a milestone in video gaming and esports history, setting the stage for modern competitive gaming. The stakes were both tangible and symbolic: The grand prize winner, William Heineman, won a $2,000 table video game (equivalent to around $7,000 in 2024). Second place received a $1,000 home computer (about $3,500 in 2024), and third place got $500 (around $1,750 in 2024). Over 10,000 participants from across the U.S. made it the largest video game competition of its time. Four regional winners advanced to the finals in New York City, each receiving $150 (approximately $525 in 2024). The event boosted sales of the Atari 2600 console, and laid the groundwork for future esports, showing the potential for organized, competitive gaming as well as helping to legitimize video gaming and contributed to its cultural acceptance in the 1980s. Fast forward to present day: The esports industry has generated billions of dollars in revenue, with significant growth expected to continue, potentially reaching over $9 billion by 2032.

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Banana, the indie clicker game on Valve corporation's Steam, has taken the gaming world by storm with its #NFT-like rewards. Players click on an image of a banana to earn digital bananas, which range from common ones worth pennies to rare bananas fetching up to $1,300 when sold on Steam’s marketplace. Surprisingly, these “banana skins” function like NFTs, even though the game doesn’t use #blockchain technology. Instead, they’re added directly to players’ Steam inventories, making them eligible for trading and listing on the Community Market. The game’s simplicity has sparked debates about #Web3 gaming, with some arguing that it doesn’t always require complex AAA titles to succeed. As Banana continues to "peel" away at the gaming industry, it highlights the universal appeal of web3 behaviour and the potential for broader adoption in crypto gaming. 🍌🎮

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TikTok ban is jet fuel for $4B Triller / AGBA reverse merger. But this is financial engineering to salvage 2 struggling companies. Retail investors, be wary! Let’s break it down… TARGET: Triller • “AI-powered” music-focused social video platform • Founded 2015 by Bobby Sarnevesht and Ryan Kavanagh • Owns Bare Knuckle league, Amplify.ai, Julius, Thuzio, FITE • Raised $218M+ and TBD debt • Biz model = rev share, ticket sales / PPV / subs / merch, advertising, platform fees • Rapid US and int'l growth via TikTok bans (e.g. India) • 200 est employees PERFORMANCE • 2.2M creators, 450M+ user accounts • 2023 revenue of $45M, down from $54M in 2022 • Q3 YTD showed $104M loss, $378M in debt / liabilities vs $6M current assets • $1M cash & equivalents CONTROVERSIAL HISTORY • 2022 Sony sued for unauthorized music use • 2023 UMG sued for same reason  • Owes music rightsholders $23.6M in unpaid fees • 2022 called off $5B reverse merger with video ad platform SeaChange • 2022 missed M&A payment to Verzuz owners • Filed for NASDAQ IPO in Aug 2023 and Jan 2024 • Reputation for inflating users and usage TARGET: AGBA • Tech-driven wealth mgmt and financial services • 4 biz lines: Platform, Distribution, Healthcare, Fintech  • Founded 1993 by TBD • Focuses on the Guangdong-Hong Kong-Macao Greater Bay Area • Biz model: interest income, commissions, asset mgmt fees • Publicly listed on NASDAQ, holding co registered in BVI, operates in HK  PERFORMANCE • Stock fell 80% 4Q 2022, has traded < $1 since July • $140M market cap, $19M of cash ($17M is restricted), $18M debt • 400k individual and corp customers • 2023 revenue of $54M, up 74% YoY, but a loss of $43M • 176 est employees DEAL DETAILS • All stock deal, AGBA acquiring Triller in reverse merger • New combined AGBA will be 80% owned by current Triller stockholders and RSU holders • Current AGBA shareholders will own 20% of new combined co • Expected May close VALUATION • Triller at $3.2B and AGBA at $800M, for $4B total • …BUT seeking alpha estimates as of 4.23 AM stock price, Triller’s real valuation is $1.3B •….and based on TikTok share repurchase valuation of 17x revenue, implies $765M Triller valuation • As of 4.23 AM stock trading at $2.40, up 500% from $0.40 the day pre announcement DEAL RATIONALE / SYNERGY • Leverage Triller’s large social audience to drive traffic to AGBA’s financial services and create more engagement via live events, webinars, etc  • Create personalized AGBA financial services via Triller user analytics and insights • But IMO here’s the real angle… • “access public capital markets and secure the liquidity needed for rapid growth” – aka a cash grab from retail investors • Triller is being aggressive when competitor TikTok faces US regulatory challenges (senate vote is today, Tuesday!) More analysis to come in my Friday newsletter! --- I’m the founder of RockWater Industries. We do m&a and strategy advisory for #media #agency #creatoreconomy. DMs are open.

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#It's time to write a new sports story. One where we bring esports to the next level, more platforms, and the maximum amount of audience via a major partnership with Warner Bros. Discovery to air the Esports World Cup across CNN, #CNNSports, and Eurosport. #From esports shows to brand new social media formats to a dedicated section on the Eurosport website, Warner Bros. Discovery will ensure every major story is told in full throughout the eight-week event. Michael Rich, Head of Warner Bros. Discovery, Sports & Lifestyle International Brand Partnerships, said:"Esports World Cup is a competition where sport meets entertainment which aligns neatly with Warner Bros. Discovery's ambition for our streaming services to become the premier sports and entertainment destination for consumers." #EsportsWorldCup is where new legends are made and if you ask me, this was the missing piece. We already reach Millions of gamers in their home base on YouTube, Twitch, FaceIt Watch, etc. #But not those hundreds of Millions of Non-Gamers who don't know much about esports but are passionate about sports and the competitive nature of it. #Their home base is TV - this is where Football lives, National Football League (NFL), the National Basketball Association (NBA), Golf, Major League Baseball (MLB), and Formula 1. #Sports builds family moments. Parents bring their kids to the stadium, explain to them the intricacies of American Football, which is - dare I say - as complex as League of Legends and Dota 2. #The moment-to-moment action on the field, the constant switch between offense and defense - that's Call of Duty & Counter-Strike & Basketball. Formula 1 and Football have found their games - #ESLR1 feels like driving a real race car, and watching an esports match in EA SPORTS FC feels like watching a real match. #TheEsportsWorldCup is a unique chance to win those "not yet a gamer but passionate about sports "parents who are certainly interested in why their son or daughter follows everything FaZe Clan does. Or G2 Esports . Or Fnatic. Or Guild Esports. Or EVOS Esports Ralf Reichert, CEO Esports World Cup Foundation, said: "We are thrilled to partner with Warner Bros. to bring the excitement and drama of the Esports World Cup to an even broader global audience. This collaboration allows us to leverage their extensive network and expertise across Eurosport, CNN, and other platforms to create amazing content and reach new fans in ways we never could before. We're confident that this partnership will not only elevate the visibility of the Esports World Cup but also reignite passion for competitive gaming worldwide." #Feel free to tell your story in the comments: Maybe you are a parent and your kids have become fans of your home team, because they've grown up with it. #And who knows - maybe you'll become a fan of their favorite esports squad creating new family sports experiences … Cheers Benny

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🌊🌊🌊🌊Exciting times are upon us in the mobile gaming industry, bringing forth a wave of fresh opportunities to craft better, more immersive games with increased retention and higher LTVs - welcome to the era of the NEW HYPER! Yet, amidst all this innovation, one fundamental principle remains unchanged: the importance of simplicity. Here are some important considerations for developers and publishers aiming to create successful products: 1️⃣ Fun Factor: Fun is the beating heart of every successful game, driving engagement and retention. Games that only rely on great creatives won’t cut it anymore - they have to have enough depth and creativity (fun!) to engage players    2️⃣ Polished Art: In today's market, polished visuals of high fidelity are the new standard. Use art to enhance the player experience and elevate your game above the competition. 3️⃣ Masterful Level Design: Craft levels with an understanding of player psychology, while maintaining a delicate balance between FunXEconomic pressure points. Every level should be a journey, carefully designed to keep players coming back for more. 4️⃣ Long(ish)-term Vision and pockets:  Set clear lifetime value (LTV) goals for your projects from the outset, and meticulously plan your development cycles and resource allocation to achieve them. What's your #5 & #6? Let me know your thoughts in the comments down below! If you’re ready to try out these for your next game, you’re in luck. We've just launched SuperSpring - another exciting contest focused on puzzles, simulations, and runners. Whether you have a fully-fledged game or just a brilliant idea, submit your concept and get exclusive resources and many perks I’m super excited to see your submissions! I love this time of year, it feels like my birthday every single day. Submit your game now :

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Opportunities abound for Older Gamers! As someone involved in Esports and competitive gaming for the past two decades, I'd like to share my perspective on the opportunities for older gamers in competitive gaming. The constantly changing landscape of gaming may make older gamers feel left behind. However, I believe that there are still plenty of opportunities for older gamers to get involved in competitive gaming. Certainly gaming has evolved significantly since the early days of console gaming when you had your first XBox or Playstation. Like me, it could even have been earlier with those 1st generation Atari and Nintendo systems. All of us who had those early experiences at home or in arcades are candidates for participating in the gaming scene today. The rise of live service games and online multiplayer has created new opportunities for gamers of all ages to connect and compete with each other. These on-line game platforms and worlds can also just be fun and casual place where you share some time with your children or grandchildren in their Virtual Worlds like Roblox, Minecraft, FORTNITE or a racing game like Forza. Gaming is the new town square so if you want to connect with the next generation, get your game on! As an older gamer myself, I can attest that the skills and experience gained from years of gaming can still be valuable in the gaming scene. Many professional players have successfully transitioned from playing games casually to competing at a high level, and there's no reason why older gamers can't do the same. Research shows that older gamers can bring a unique set of skills and perspectives to the esports scene. For example, a study published in the Journal of Electronic Gaming and Esports found that older gamers tend to have better teamwork and communication skills, which are essential for success in many esports games. The esports industry is not just limited to professional players. There are many other roles that older gamers can fill, such as coaches, analysts, and commentators. These roles require a deep understanding of the game and its mechanics, as well as strong communication and leadership skills. In addition, the growth of the esports industry has created new opportunities for older gamers to get involved in the business side of things. Many esports organizations are looking for experienced professionals to help manage their teams, develop their brands, and create engaging content for their fans. While the gaming landscape may be changing, there are still many opportunities for us older gamers to get involved. Whether it's as a professional player, coach, analyst, or commentator, or on the community side of things, there's no reason why older gamers can't be a part of this exciting and rapidly surging industry. So, to all you older gamers out there, don't be discouraged by the changing times. Instead, embrace the new opportunities that competitive gaming has to offer and get involved!

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I’ve gained a lot of insights from the speakers over the past few days at SportsPro Singapore. Hearing the remarkable stories from many of the giant sports teams we admire and draw inspiration from has been truly enlightening. Their spirit and dedication are qualities we share. Although we’re a fairly young company, we have immense hopes and dreams. Seven years ago, our grand finals at the atrium had only 100 live attendees and just 5,000 live viewers on YouTube. Fast forward to today, the scale has definitely skyrocketed. Millions of hardcore fans now tune in live, and tens of millions more engage with us through our socials and events. We may be young, but our fans share our passion and dedication. Our partnership with AXIS (PT XL Axiata Tbk, one of Indonesia’s leading telecommunications companies) exemplifies our journey. When they took a leap of faith with us more than five years ago, we’ve since been working very closely with their team to understand their challenges and translate their message into one that resonated with our fans. Today, XL and AXIS proudly stand as the top choice among our fans in terms of brand recognition and actual users. The prize of this investment for a journey with us isn’t just visibility; it’s about becoming part of a story that resonates with tens of millions. It’s not just about the numbers but the inception and growth of the brand itself. Sponsorship to us means being part of EVOS, part of a legacy that continues to redefine esports in Southeast Asia. Quantifying success is straightforward when you have top-of-mind awareness paired with an epic fandom. Our sponsorships deliver measurable value through frequent brand health checks and NPS, translating into loyal fan engagement and brand affinity. Even engaging the tens of millions of fans to create your next product line. With EVOS, you’re not just sponsoring an esports team; you’re making an investment in an emotional connection during the highs and lows of the fan’s journey. That’s when true imprinting happens.

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At Razer, innovation isn't just a buzzword—it's in our DNA. Over the years, we've introduced features that were ahead of their time, often stirring debates and even facing bans. Yet, time and again, these innovations have become standards in the gaming industry. The Razer Boomslang, the world's first gaming mouse that pushed boundaries so far it got banned in competitive play because of high-DPI, which is now pretty much a feature in every gaming mouse on the planet. The Razer Blade: Pioneered the slim, high-performance gaming laptop, proving that power can come in elegant, slim form factors when people questioned the need for the existence of gaming laptops. Now, pretty much the reference for all gaming laptops. The Razer Naga MMO mouse with the industry defining keypad - again, a standard for all multi-button mice today. The Razer Onza controller that was banned by the competitive leagues until it was lifted after all the many esports athletes swore by theirs. And the list goes on... Today, we face similar debate in the industry when we launched Snap Tap Mode on the Huntsman V3 Pro line. Much like our early high DPI mice and HyperPolling technology, Snap Tap will be called cheating, the unfair advantage - but I'm pretty sure the industry will follow as yet another benchmark established by Razer. As always - we continue to push the limits of hardware and software and bring the unfair advantage to our esports athletes and gamers all over the world - the #RazerAdvantage

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part 1 and 2 is out john has summed the things that game publisher need to take note. the need to understand the player behavior, player motivations and game economy is crucial in crafting the revenue path and strategies for each segment or group. there is no 1 size fits all strategy. not just on monetization, before that, acquistion and retention would be the initial steps to work on and follow by monetization. Just working monetization alone will see repercussions. Players have too many options to choose, how to keep them to the game and keeping them long will be one of the core to successful monetization.

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Rise of the Ronin - my current most favourite game and the one I play almost exclusively on my PS Portal - is performing exceptionally well, exceeding launch sales of the Nioh series according to KOEI TECMO Singapore Pte Ltd's financial report. This open-world action title, published by Sony for PS5, launched in March amidst a busy period with another PS5 exclusive, Final Fantasy 7 Rebirth. While specific sales figures remain undisclosed, the news suggests a strong start for Rise of the Ronin compared to the Nioh franchise, which surpassed 7 million units globally across both games and the remaster. In tandem with Koei Tecmo’s internal findings of Rise of the Ronin, the financial report also underscored the acclaim the game has received from both critics and players. More specifically, Koei Tecmo cited Rise of the Ronin’s "very high" user and "generally favorable" Metacritic score, which praised the game for its combat, story, and graphics. (source: https://lnkd.in/dM-EXCHT)

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shawn layden spoke on the future of game development during Gamescom Asia. There's a lot here that I find interesting and insightful, but what really hit home for me was this quote about how video games were made back in the day: "We asked the simple question: is it fun? Are we having a good time? If you said yes to those questions, you'd usually get a green light. You didn't worry so much about the end piece, for better or for worse. Of course, back then you didn't make a game for millions [of] dollars. So your risk tolerance was fairly high." It resonates with me for multiple reasons: 1. It takes the easily dismissed naivety of happy-go-lucky idealists (that's me!) who just want to make "a fun game that people can have fun with because it's fun" and reframes it as basic business sense. It's not just about dreaming up games—it's about diversifying risk. By spreading budgets across smaller, creative projects, we hedge against failure rather than betting everything on a single massive hit. It’s a business approach that’s as viable today as it was back then. 2. It's sympathetic as hell. Layden’s point reminds us that, at its core, game development is still about joy. Sure, things are more complex now, but that core question—"Is it fun?"—is timeless. It feels like he’s advocating for a return to games as creative expressions, not just money-making machines. And as someone who’s always leaned toward that philosophy, it feels good to hear someone of his stature echo it. 3. It’s still really doable. Sure, I’m the first to admit it’s easy to romanticize the past, and things are more complex now. But just imagine: take one of the big-budget flops of recent years, the ones with hundreds of millions in budget, and ask what that same budget could achieve if spread across smaller, more creative projects. Even on the low end, one of those games could basically pay for every indie game project here in Gothenburg (may contain traces of hyperbole). But at the very least, it could pay 2,000 developers a really fair wage for one year, which should be enough to evaluate the feasibility of the game. Anyways, those are my stream-of-consciousness thoughts on it. Highly recommended read: https://lnkd.in/d3pVWBJV #GameDevelopment #IndieGames #ShawnLayden #GameIndustry #GamescomAsia #GamingInsights #CreativeRisk #IndieDev #GameDesign #VideoGames #GameEcosystem #DevelopmentPhilosophy #GameBudgets

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Digital Game Ownership: Ubisoft Lawsuit on The Crew Once, buying a game meant holding a physical cartridge or disc, able to play it whenever we chose. But as cloud servers and online access become more integral to how games operate, the question arises: Do players really own the games they buy? This issue has come to a head with Ubisoft, which is now facing a proposed class action lawsuit over its decision to shut down the servers for The Crew, effectively making the game unplayable for its buyers. The lawsuit, filed in California on November 4, 2024, claims that Ubisoft "duped consumers" into purchasing The Crew without notifying them of the possibility of server shutdowns. The plaintiffs argue that this decision left them with an unplayable product, as the game’s data was stored on Ubisoft's servers, not on players’ devices. According to the filing, Ubisoft "misled consumers by telling them they were buying a game, when in fact, all they were renting was a limited license to access a game." Adding to this concern is the reality that some players who bought The Crew years ago were left out of Ubisoft's refund policy, which only applied to those who had purchased the game shortly before the shutdown. The game originally launched in 2014, and for long-time players who bought physical copies in 2018 and 2020, Ubisoft’s refund policy offered no recourse. A new California state law passed in September 2024 is attempting to address these concerns. It mandates that all digital storefronts inform consumers that they are buying a license rather than owning the games outright. This law aims to increase transparency around game purchases and ensure that consumers understand the limitations of digital ownership. The move reflects a broader effort to redefine consumer rights in the digital age and address the implications of remote access. The Ubisoft lawsuit and the new legislation reveal the growing disconnect between how consumers perceive game ownership and the reality of modern game licensing. For players, this issue raises critical questions: Can a game really be considered “owned” if access to it depends on a third-party server? What protections should exist for consumers who want to retain long-term access to their games? What do you think about this topic? Do the laws need to change or do game companies owe some sort of recourse if the shut off access to something a game purchases?

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⚡️ Gaming Insights from the reports of last week (July 29 - August 2) 1️⃣ Dungeon Fighter Online is the new Mobile revenue leader According to AppMagic, the game earned $159,7M net in July on iOS in China only. Plus the Android revenue. Plus rumours, that the actual revenue number is much larger. It will be fair to say, that it's one of the largest (if not the largest) launches in mobile history, if not the game released in South Korea in 2022. It's especially surprising, as the game success in Korea was by a mile far from what it is experiencing now in China. 2️⃣ Sensor Tower is positive for the mobile gaming industry's future The recent report shows that by 2028, the mobile gaming market is expected to surpass the $100B IAP revenue mark, with a CAGR of 6,8%. Though the market 2023 numbers show, that casual genres are on the rise while the midcore is down (it's the only segment that lost 9% of the revenue in 2023). It's interesting to see how the situation will evolve in the long run. Midcore decline was caused by the RPG genre (Japan/South Korea players are spending less) and the 4X Strategy subgenre. 3️⃣Niko Partners reports that Japanese and South Korean markets reached their maturity In upcoming years, by 2028, the two markets combined will reach $30,8B in revenue, which shows a modest growth rate of 0.4% yearly. Additional pressure on the $ value is caused by the weak Japanese yen position. The growth of those markets will be mainly caused by the PC & Console markets, while mobile will probably stay flat. As of 2023, Mobile was responsible for 68.4% of those two markets' revenue, so it's already dominating with a great margin. A quick recap of all the reports of the past week is here: https://lnkd.in/d5pM8maf

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Single-player games are not only amazing, but they can also be incredibly profitable when done right. Looking ahead, the development strategies we see in Asia might offer a more sustainable and successful path forward for the industry. The games from these three regions do some of the same things very well: 1. Start off relatively small (compared to western developers) 2. Focus all resources on creating a well polished experience. 3. Utilize outsourcing effectively. Could we be witnessing a shift back to smaller studios, similar to what we saw in the early 2000s? These teams will be unable to burn through millions on poor decisions but will instead be able to focus solely on creating great games. With the rise of distributed development, this kind of model becomes even more viable and efficient. Note: This approach would also work well for multiplayer, player vs player games. Shout out to David Lesperance for always harping on these areas, they seem to be the trend in development.

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2 crazy weeks of travelling, culminating in the yolo partners event. Here’s what happened: So I’m back now and going to take some time to catch up. (I promise to reply to everyone soon.) On stage at the Yolo event, I shared the stage with a few other Yolo portfolio companies and spoke about Blask to such an awesome crowd. I explain more about our product and journey - and the feedback is outstanding, but the work is so far from done. My fav quote from stage was: “We literally have just 5% of the features we plan to deliver. With the feedback and support we’ve received, we’re building an industry-driven project, and I couldn't be more grateful to be amongst all of you guys.” But what makes this event so special, is that I met a lot of cool people and exchanged ideas. - I spent more time with Pierre which was a true blessing. It's crazy that you have known a person for probably 4 years now but never realise how much you share in common. You are one of the most incredible people I have ever managed to chat with in this industry, - Then the guys from Forever Network - Nicholas and Alex - you are building a truly incredible and unique media company. It was incredible to meet you in person and hear about your plans. All the best guys! - I’ve been a fan of Dabble and finally got to meet Jon, one of the guys behind one of the most incredible and innovative betting companies right now. All the best with your new plans!  - And Steven of Rivalry.com: Mate you are such a great person. A smart,  humble dude and also a visionary! Our industry needs more people like you. - Also a pleasure to hang out with Josh and Jamie of Low6. It’s always a pleasure to hang out with you both, I really enjoy our time together. Silicon Valley brotherhood haha - Then there’s Pedram and Andrew from Enteractive - Thanks for our time together guys, you’re both great people! - And Pontus - you are a true legend, and I can't be more grateful to know you and call you a friend. I enjoy our time so much and look forward to seeing you next time. Of course, last but not least the Yolo Group partners team: Guys, it is simply 10/10. Probably the event of the year, and now I want more haha If I forgot anyone, I’m sorry, but I had so many great conversations and it was a pleasure meeting you all. PS: I played golf for the very first time in my life, and it was incredible. Doing 18 holes while playing the first time was tough, but we did it, thanks to everyone involved, this event was a pure blast

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Just published a deep dive analysis on Call of Duty Mobile's two-tier gacha monetization system! 📊 Key findings: - 60% of live ops events focus on monetization - Regional pricing varies up to 60% between markets - Single events can generate $300+ per player - Mythic rarity drop rates are as low as 0.08% Read the complete analysis and learn more about mobile gaming monetization strategies: [Link in comments] #MobileGaming #GameDev #Monetization #CODM #GachaGames

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